2:30 PublicityI was reading a piece in the latest issue of Exclaim wherein Nicholaus Sparding of Love Is All commented on the band’s inability to get arrested in their native Sweden, perhaps on account of their refusal/inability to adhere to what’s typically thought of when you talk about Swedish indie – that is, elegant pop of the orchestrally twee persuasion.

And perhaps that’s why I ultimately ignored their debut, 2006’s Nine Times That Same Song – I really like that elegant, orchestrally twee pop, particularly delivered in a Swedish accent, and that’s most definitely not what Love Is All are about, except maybe the accent part. From Josephine Olausson’s gleeful caterwaul to James Ausfahrt’s skronking saxophone, Love Is All are resolutely scrappy, abrasive and frantic. The Cardigans, they are not.

But score one for personal growth, as I’ve given the follow-up A Hundred Things Keep Me Up at Night more of a chance and am pleased to find myself coming around to its charms. Within Hundred‘s ten tracks there reside a handful of lustrous pop jewels that no amount of sonic dirt can dull – manic lead single “Wishing Well” and the Spector-iiffic “When Giants Fall” chief amongst them – and the numbers that don’t reach the same level of inspiration do their best to compensate with loads of anarchic energy. I can’t say that Love Is All are an outfit that I necessarily see myself forming a long and lasting relationship with, but for a good night out, you could do far worse.

And on that note, Love Is All are about to kick off a North American tour which will bring them to the Horseshoe next Thursday night, December 11. Courtesy of Against The Grain, I’ve got two pairs of passes to give away. To enter, email me at contests AT chromewaves.net with “Love Is All I need” in the subject line and your full name in the body. Contest closes at midnight, December 8.

Exclaim has posted up the complete transcript of the interview that seeded the feature mentioned above, and The San Francisco Bay Guardian also has an interview with Josephine Olausson.

MP3: Love Is All – “Wishing Well”
Video: Love Is All – “Wishing Well”
MySpace: Love Is All

One of the nicest things to show up in my inbox lately is from New Yorkers The Pains Of Being Pure At Heart, whose ’80s-vintage jangly/fuzzy brand of pop is as twee-friendly as their name. Pretty much what you might expect from a band on the venerable Slumberland marque, and totally scratching an itch I’d forgotten I had. Their self-titled debut will arrive on February 3 and a short Winter tour brings them to Toronto on February 12 for a show at Neutral.

MP3: The Pains Of Being Pure At Heart – “Everything With You”
MP3: The Pains Of Being Pure At Heart – “Come Saturday”
Video: The Pains Of Being Pure At Heart – “Everything With You”
MySpace: The Pains Of Being Pure At Heart

The Wedding Present, for whom POBPAH are currently opening a string of dates in the UK, have released a download-only, throwaway (my subjective opinion) Christmas single, complete with video. The Gedge is really into this Californian lifestyle thing, from the looks of it.

Video: The Wedding Present – “Holly Jolly Hollywood”

The title track from Los Campesinos’ new record We Are Beautiful, We Are Doomed is now available to download.

MP3: Los Campesinos! – “We Are Beautiful, We Are Doomed”

Contact Music interviews Asobi Seksu. Their new album Hush is out February 17.

BBC talks to Noah & The Whale, who are set to release a mini-album under the guise of their A-Sides punk band persona, just in time for Christmas though just barely – it’s out December 22. They also give some hints about the direction album number two – currently in production and the reason for their cancelled North American tour – is taking.

And also cancelled is CSS’s December 15 date at the Opera House. I guess the Brazilians finally discovered that December is COLD in the northern hemisphere (actually they say it’s due to visa issues).

And those of you who didn’t get tickets to Franz Ferdinand’s show at Lee’s tomorrow night – which is most of you – may be heartened to know that they’re doing another tiny show at the Masonic Temple (aka MTV Canada studios) on Friday but the only way to get tickets is to listen to CFNY (aka “The Edge”, to those of you under 30). Whether you’re willing to make that great a sacrifice to try and get tickets is up to you.

March will prove to be a good month for those whose tastes run towards the rootsier end of things. First, March 3 brings the Middle Cyclone (artwork!), the new album from Neko Case (she talks to Paste about making the album and buying a farm – A farm, not THE farm), and on March 31 Great Lake Swimmers will release their latest, Lost Channels.

Jaime HoggeI don’t know if a duo can really be called a “supergroup”, but if so then the combined resumes of Nick Thorburn and Jim Guthrie, they who go by Human Highway, would certainly qualify them. Guthrie cut his teeth in the dearly departed and wholly underappreciated Royal City before a fruitful solo career that included a stint in Thorburn’s Islands, the band which followed his first outfit – the much beloved by people other than me Unicorns.

Though I reserve the right to be entirely wrong about this, I don’t believe that Guthrie’s stint in Islands went beyond live duties. So Moody Motorcycle, the debut album from Human Highway released back in August, constitutes the first recorded collaboration between these two artists. And fittingly, it sounds exactly as you’d think a collaboration between the two – and named for a Neil Young film – should. It’s simple and homespun-sounding, unsurprising considering it was knocked off in a week, rich in melody and harmony and faithful to the pair’s folk and pop roots. It’s a bit understated in delivery, but there’s a definite bounce to it.

While most humans of Canadian persuasion know that traversing the country’s highways in December can be a bit risky, Human Highway are setting out on a short Canadian tour in the middle of next month. Only four dates, though, including a December 16 date at the Tranzac – tickets $10 in advance, $12 at the door, though I am guessing there won’t be too many of the latter. Chart and Exclaim! talk to Guthrie about the project’s origins, while NPR declares Moody Motorcycle one of the year’s “overlooked gems”.

MP3: Human Highway – “Sleep Talking”

Exclaim has details on the next Handsome Furs record Take Control, out February 3.

Asobi Seksu’s next album has a release date to go with the previously announced title. Look for Hush on February 17.

The Quietus speculates about the possibility of a Condo Fucks record entitled Fuckbook appearing on the Matador release calendar as really being a new Yo La Tengo record. Because goodness knows that Matador/Beggars have no record of signing bands with “Fuck” in their name (though Condo Fucks don’t appear to hail from Toronto, so that’s a strike against).

The Rice Thresher talks to Matt Berninger from The National.

am/fm and Metro talk New Jersey with Nicole Atkins.

There’s much Calexico in the newswires – check out features on the band at Express Night Out, Metro, The Montreal Gazette, Chart and eye. They’re at the Phoenix on Tuesday, and congratulations go out to Fotis and Marius for winning passes to the show.

Wayne Coyne of The Flaming Lips chats with PopMatters and JAM.

The best part of this two–part video interview with Nick Cave at PitchforkTV is the “I will eviscerate you” look on Nick’s face at the very beginning. Though I suspect he always looks like that.

Pitchfork reports that The Pipettes are once again down a Pipette.

Bloc Party’s Kele Okereke talks to The Sun, complains about John Lydon being a meanie.

Drowned In Sound gets a new album status report from Maximo Park’s Paul Smith.

Pitchfork has got an MP3 from Los Campesinos’ new record We Are Beautiful, We Are Doomed

MP3: Los Campesinos! – “Miserabilia”

Paste offers up the complete transcript of their recent interview with Of Montreal mastermind Kevin Barnes.

MySpace Transmissions offers up a downloadable session with Bon Iver.

Le Blogotheque takes away a show with Fleet Foxes.

Daytrotter sessions up with The Dutchess & The Duke.

PopMatters interviews The Secret Machines.

The Pittsburgh Post-Gazette catches up with Robyn Hitchcock.

The Santa Barbara Independent sees how Jason Isbell is doing out on his own.

Mates Of State discuss the balance between rocking out and bringing up baby with Nashville Scene.

Drowned In Sound prognosticates about what 2009 will bring for music.

Frank YangJust to give you how tightly I have my finger on the pulse of what’s hot in music… in all the CMJ coverage that my RSS reader has been barfing up at me, I’ve seen exactly one mention (at Pitchfork) of the band that got me on a plane to New York City – London’s Lucky Soul. All these other buzz bands that everyone’s talking about? Whatever.

The band had two dates scheduled as part of their North American debut, and in the interests of making the most of the opportunity, I hit up both. One was their official CMJ showcase, the other was their own show as presented by the good people at Music Snobbery, and in terms of vibe and setting they couldn’t have been more different. The former came first, and took place in a new live music room underneath Webster Hall called The Studio, and it can generously be described as a dark basement. They were the penultimate act in a showcase dubbed “Bring On The Brits” and featuring a lineup of bands whom I don’t doubt were here from the UK, but apart from Lucky Soul, none of whom I’d ever heard of. I arrived in time to catch one of said bands, a Brighton-based outfit called Passenger who played emotive acoustic-based rock and sounded not unlike The Frames if The Frames weren’t as good at what they do. Certainly nothing offensive but also nothing that had me wishing I’d arrived earlier to catch all their set. And, after all, they were in the way between me and Lucky Soul.

But they left of their own accord – no need for an incident – and right on schedule, Lucky Soul and their wonderful brand of retro soul-pop met North America. And as much as I’d like to say otherwise, it wasn’t the smoothest introduction. For starters, singer Ali Howard’s voice had gone AWOL just a few hours before the show and while she was able to perform, the clear, beautiful vocals of the record were replaced now decidedly raspier and she no longer had the range to hit some of the high notes. Her bandmates did their best to compensate with backing vox and it definitely helped, but when she dropped back, it was very noticeable. She did seem to find some more strength as the short set progressed, but a dodgy mix didn’t help matters much.

On the plus side, the band was obviously determined to not let this setback deter them and did their very best to put on an energized and enjoyable show and I’d say they succeeded, though I can’t honestly say how much of that was fact and how much was my own excitement – having played last year’s The Great Unwanted damn near to death, it was great to finally be able to hear (and see) them live, even if the circumstances weren’t ideal. I left satisfied, though also hoping that between that night and the next, Howard would discover some mystery apothecary in the Lower East Side and her voice would be magically healed.

For though that first night was the “official” show, the second night was the “real” show – a bill featuring them and them alone in the decidedly more upscale and posh surroundings of Joe’s Pub. Surprisingly, though the previous night was a free show and this one ticketed, this one was much better attended, presumably by genuine fans rather than just random CMJ punters. And while most of the observations from the previous night still held, on this occasion there was simply more. More energy, more showmanship, more songs. Howard’s voice, sadly, was still hurting but again it improved as things went on and spared the PA dropouts from the Webster Hall show she was able to make the rasp work in her favour, mostly, giving the songs more of an edge from the sweetness of the recorded versions. The band were just as tight but the positive vibe of the room seemed to give them more pop. They sounded great and they looked great, the boys in suits and Howard in a sleek strapless dress. Between the two nights, I had a marvelous time and was absolutely thrilled to have been able to see them live – and considering how swarmed by fans the band were after the gig, seeking merch and autographs, I was not nearly the only one.

Both nights had similar setlists, though the Joe’s Pub one was obviously longer. In addition to covering most all of The Great Unwanted, they played more new material than I’d expected – it sounded less overtly throwback-y with a touch more country-soul, but still wonderfully hooky and quite strong. The debut was not a fluke. As I understand it, a second album is still a ways off but this bodes well for whenever it comes. Which raises that ever-present rhetorical question – why aren’t these guys, if not huge, then at least more talked about? Most everyone whom I’ve made to listen to it has fallen in love with them and it’s not as though it’s difficult music or would be at all tough to market. But these… these are questions that there’s no rational answer for and dost make one’s head hurt. So I’ll simply say that their two shows made the trip totally worthwhile and this had better not be the last time I get to see them perform.

Music Snobbery has a review of his own show. He thinks it went alright. And the band has blogged their eventful sojourn to the new world – terrific reading.

Photos: Lucky Soul, Passenger @ The Studio at Webster Hall, New York City – October 23, 2008
Photos: Lucky Soul @ Joe’s Pub, New York City – October 24, 2008
MP3: Lucky Soul – “The Great Unwanted”
Video: Lucky Soul – “Lips Are Unhappy”
Video: Lucky Soul – “My Brittle Heart”
Video: Lucky Soul – “Add Your Light To Mine, Baby”
MySpace: Lucky Soul
MySpace: Passenger

Pitchfork talks to Gwenno about the differences between The Pipettes mark one and two (more ’80s, less ’60s) and the precognitive powers of her hair colour.

Frightened Rabbit are offering up an MP3 from their new live album Liver! Lung! FR!.

MP3: Frightened Rabbit – “Old Old Fashioned” (live)

Making an appearance on said record is Twilight Sad frontman James Graham, and to mark the start of that band’s Fall European tour with Mogwai, they’re releasing a limited-edition album collecting live tracks, unreleased goodies and covers… of course, the only place to get it right now is their Fall European tour with Mogwai, but surely there’ll be other avenues and when I know, I’ll let you know. More details on the release at Pitchfork.

This Is Fake DIY, Wales Online and MusicOhm talk to Los Campesinos! about their new record We Are Beautiful, We Are Doomed, out November 11.

Kele Okereke of Bloc Party doles out sex advice at The Guardian, NME reports that the band is considering ditching the physical CD single. Intimacy is out today and streaming at Spinner.

Stream: Bloc Party / Intimacy

Minnesota Public Radio serves up a session with The Rumble Strips, in town at the El Mocambo tomorrow night.

Photo by Frank Yang

I am willing to bet that most everyone who was packed into the tiny back room of The Rivoli on Saturday night was there to see Ms Laura Marling, she of the fine Mercury Prize-nominated debut Alas, I Cannot Swim if not of the top billing on this night. But, assuming they arrived early and stayed late and took in the entire show, I am also willing to bet that they weren’t just talking about Marling’s set afterwards, but every single act that performed.

It was the final night of the traveling musical caravan dubbed the “Fe Fi Fo Fum Tour” which had been traversing the continent for the past past three weeks, and in addition to Marling featured Johnny Flynn & The Sussex Wit and Mumford & Sons for an excellent sampling of the current crop of young, folk-based artists coming out of the UK right now. Though it was evident from the tour anecdotes and in-jokes that popped up in stage banter through the night that all involved had a terrific time discovering and conquering America, it was also obvious that they were tired but prepared to give their all for this one, last show.

And in addition to the three acts listed, there was a surprise opener in the form of Pete Roe, a member of Marling’s band who stepped up to play a quick and impressive two-song set of graceful, finger-picked folkistry that gave a taste of what was to come. And if that was the appetizer, Mumford & Sons was the first course. The four-piece, who would also comprise a large portion of Marling’s band, delivered a raucous yet mournful bluegrass-based sound that was steeped heavily in traditional forms but not at all restricted by them. There’s no overt genre envelope-pushing like introducing heavy electronic elements – banjos, mandolins and fiddles are very much the tools of the trade to say nothing of immaculate four-part harmonies – but there’s also no sense that they’re seeking to recreate the past, simply that they’ve chosen this particular style in which to write their songs. And in any style, their songs would have been strong and affecting.

My expectation for Laura Marling’s set was that it’d be a quiet, almost solemn affair in keeping with the downbeat tone of the album. And while it was far from a dance party, by playing with a full band and focusing on the more fully-arranged pieces from Alas, she far exceeded what you might expect from a conventional singer-songwriter performance. Initially, she evidenced some of the stage fright that she’s been contending with since being thrust into the spotlight, stony-faced and staring off into space whilst singing her songs, as though having an out of body experience. But the sheer love emanating from the audience – the constant singalongs were as endearing as they were annoying – and the joviality of her bandmates eventually pulled her out of her shell and by the end, she was smiling and joking along with them. For me, her performance was less a revelation as a reinforcement of the fact that Alas really is a strong record and Marling is a rare talent worthy of all the accolades she’s gathered in her short career. And though it’s usually the strength of her songwriting that’s praised, she also has a much stronger and versatile voice than you might expect – though she tends to favour the lower register that keeps with the confessional mood of her writing, there were a few points at the show when she went high or falsetto and sounded remarkable.

So with Marling having delivered what most in attendance were there to get, there was probably a bit of pressure on the final act – Johnny Flynn & The Sussex Wit – to prove they were worthy of the top billing and could close things out on just as high a note. And while they didn’t necessarily manage to exceed the bar set by the first acts, they were able to meet it handily and avoid any sort of let down. Drawing on their debut album A Larum, Flynn and company made the Rivoli feel like an olde English pub to which they were the house band. Like the other acts, they demonstrated really remarkable musicianship with Flynn trading off from guitar to trumpet to fiddle while singing his richly detailed folk songs overtop a musical backdrop that was simultaneously delicate and muscular.

Though I’ve used the term ad nauseum out of convenience, I’m not a fan of the “anti-folk” label that’s been attached to a lot of the young, roots-oriented bands coming out of the UK at the moment – all the artists on this night included. It sounds small and reactionary and doesn’t do the undeniable talent of those caught under the label justice. So instead, let’s try a different descriptor – how about “simply wonderful”? Okay, maybe not. But still.

Photos: Johnny Flynn, Laura Marling, Mumford & Sons, Pete Roe @ The Rivoli – October 4, 2008
MP3: Laura Marling – “Ghosts”
MP3: Pete Roe – “Let It Go”
MP3: Pete Roe – “I’ll Only Be Dreaming Of You”
Video: Johnny Flynn – “Tickle Me Pink”
Video: Johnny Flynn – “Leftovers”
Video: Johnny Flynn – “Brown Trout Blues”
Video: Laura Marling – “Night Terror”
Video: Laura Marling – “New Romantic”
Video: Laura Marling – “Ghosts”
Video: Laura Marling – “My Manic & I”
Video: Laura Marling – “Cross Your Fingers”
MySpace: Johnny Flynn
MySpace: Laura Marling
MySpace: Pete Roe

Stay Thirsty interviews Los Campesinos!, whose We Are Beautiful, We Are Doomed is out November 11. Pitchfork has details on the bonus goodies that’ll come with the CD.

Thanks to Thierry for pointing out this odd but enjoyable video of Lightspeed Champion and SNL‘s Fred Armisen someone named Fred covering The Strokes. I have no context for this clip, and honestly, I don’t want any.

Video: Lightpeed Champion and Fred – “Someday”

NPR talks to Basia Bulat about the appeal of the autoharp.

PopMatters interviews Nellie McKay.

Daytrotter welcomes Aimee Mann to their studios for a session.

The Boston Herald features Fleet Foxes.

Broken Social Scene have added a second date at the Sound Academy for the end of November, playing on the 28th as well as the 27th. Support for the second date – and perhaps the first? – will be Land Of Talk, which does raise the question of whether or not their cancelled headlining date at Lee’s from the end of September will be made up anytime soon.